Star Wars: The Force Awakens: Part 1A, The Finn Factor

I want to use a separate space to discuss Finn because what he represents is also critical to a deeper understanding of what TFA was all about. Come, let's to it.

Finn: The Black Stormtrooper/"Magic Negro"

For those unfamiliar with the concept of the magic negro please follow the link.

Finn fights with Anakin Skywalker's lightsaber

From the announcement of his character all the way to opening day, a big deal was made about the personality of Finn as played quite elegantly by John Boyega. The biggest conflagration centered around why a black had to be in the lead and why, presumably, he was to be the individual in whom the Force would awaken. The constant advertising for TFA consistently led many to believe that it was the character Finn who would be the center of the story and, perhaps, around whom a new Jedi Order would arise via the training of now Master Luke Skywalker. To be on clear footing, the anger over a black superstar at the heart of Star Wars did exist but was from a minority of vocal opponents and was not shared by most, including this writer. In fact, like most celebrants, I welcomed the idea of another strong black male character and looked forward to seeing his hero's journey to the Force.

Finn, Rey, & Kylo Ren, misdirection in advertising

This, however, turned out to be a clever marketing deception created to misdirect the expectations of hot-to-trot fans and, I dare say, preserve Disney's "gotcha" surprise bait-and-switch of non-Force-sensitive Finn for super Force-adept Rey. And this is why, in advertisement after advertisement, it is Finn, and not Rey, who is seen holding and wielding a lightsaber. Finn as main protagonist and hero turns out to be a complete falsehood as the last 30 or so minutes of the film ultimately reveals, though many breadcrumbs are dropped along the way to clue us in. However, this particular gripe is not about preserving the surprises of the storyline, but about fooling the fanbase in order, the Subspace Meditator suggests, to serve a larger, yet more subtle agenda. It is that agenda which I flesh out more in part two of this meditation. For now, let's analyze Finn a bit further.

Strong, but Nuanced Black Male Inclusion

Lando Calrissian, a black man of mixed motivation in Star Wars

In real-world terms, Finn's ostensible purpose is to prove the diversity of the "galaxy far, far away," to embrace the fact that humans in space aren't just lily white, and further, that non-white humans are capable of more than being a sidekick to the white hero. But a sidekick is exactly what Finn turns out to be. And upon inspection he turns out to be far, far less. In the beginning of the story his character is portrayed as an elite stormtrooper with a conscience who faces a moral dilemma and thus must choose which side he will serve. In this choice is a powerful moment for the character and one that opens up a host of possibilities for his long-term development. However, this angle is given bare bones service. The story later reveals that Finn is not after all one of the First Order's elite, but a sanitation worker who just happens to also don stormtrooper armor from time to time, and who just happens to mysteriously know very, very important things about the First Order's prime weapon, Starkiller Base. How he, a janitor, is supposed to know such things is not even mentioned. He just does so that, somehow, he can, at last, become important to the audience. Though he's marketed as such, in this movie Finn is no hero in any real sense of the term, but instead an inveigler (Han Solo recognizes him as such with his line, "Women always find out the truth. Always."), a coward, and a kiss-up to the female lead. He is the comedic relief of the show. And though this is executed quite well from an onlooker's perspective, and is certainly reflected in Boyega's performance, Finn is obviously out of his element in the course of events and using humor to hide both his fear and lack of resolve. He spends the majority of his time trying to find ways to run away from peril or rescue Rey and gain her approval even after she's repeatedly demonstrated that she doesn't want his help, nor is interested in his romantic overtures.

Mace Windu, a powerful warrior-priest 
black man in Star Wars

But to see only these characteristics is to miss the greater mark behind Finn's inclusion. For sure, he is no Lando Calrissian and certainly no Mace Windu. But he is the type of male that feminist SJWs can go for- a wussified man who worships the ground women walk on, who plays second fiddle to an overbearingly strong female, who herself steals the show from men and is, superficially at least, flawless and above reproach. In nearly every scene involving himself and Rey, Finn is given second-class treatment and shown as less decisive, less courageous, and less competent than she. Finn's insertion was not about degrading the black male per se as much as it was about exalting the female lead by using the black male of the show as proxy. It is his purpose to elevate the main woman character to near goddess-like perfection, to pedestalize her above the earth and sky in order to fit the feminist paradigm. To this end, the dude's near lack of real development and his overall purpose as a character was for little more than as a tool to make Rey look so totally awesome that she completely overshadows him from the very first encounter to the very end. In these aspects Finn is a representation of the magic negro, and beyond this what some call a mangina or a white knight. Love-struck Finn will do anything - anything - for his sweetie, Rey. And the culmination of his trouble, the grand prize of his herculean efforts, is a friendzoned hug from her in a "thanks for not abandoning the fight" moment inside Maz Kanata's cantina. And yet for the rest of the story Finn continues to chase his honeypot across the galaxy because he simply refuses to leave her no matter what.

Anything that happened in TFA could have proceeded so with or without Finn. He was just that inconsequential. Therefore, any outrage by those with prejudiced hearts about a black male lead who gets the white girl and/or who becomes the epic hero of the story was absorbed by this bigger agenda.

Of course not all black men are strong and do not have to be shown in fictional stories as such. However, some inkling of the hero's journey should have been seen in Finn as he is the second lead protagonist. Some elements of him finding his purpose, separate and distinct from his association with Rey, or on her behalf, should have been portrayed.

But there's a way to remedy this, my people, and it doesn't mean Finn bosoming up to Rey. Hear me.

Getting Those Interstellar Babes

There's more to the galaxy than white chicks!

Though some actually criticize the idea, at this pace it would be better for Finn to be seen in the next installment actually getting some action from a sexy space alien chick. And I personally would have no problem with this! After all, Captain Kirk made out with many intergalactic honeys in his time with no incompatibility issues with interspecies mating. From green-skinned lovelies with great...belly buttons, to grey-toned beauties with tails, James T. Kirk lacked for nothing in the universe's manifestation of feminine diversity. His experience was bountiful! So what would be wrong with Friendzoned Finn hooking up with a blue-bodied babydoll with awesome curves? Why should the space-faring white guys have all the fun? Moreover, it's a big galaxy. Why should Finn limit his horizons only to the white human female? Should he genuflect to her just because she's in close proximity? Hell no! Rey isn't the only game in the stars.

However, not either should he be paired up with a black female space jockey because that also is too simplistic and is what everyone would expect. And quite frankly it's too comfortable; it would too easily satisfy black critics who'd see Finn coseying up to "white" Rey as an insult to black pride, and him getting with a "sister" as only more condescending tokenism; and it would just as too conveniently be an out for white supremacists insulted at a black man "stealing" another of "their women." No, make the audience think! and in the doing, perhaps make them all uncomfortable! Take risks, which is what novel films are supposed to do! So, saying "fuck it" to both of these easy answers is the right way to bring Finn back and let him stretch his horizons, and see all the galaxy would have him see!

Yes, let Finn shag the alien girl with 
head tentacles and Force powers!

The cheeky humor of my proposal aside, I really do think it a great idea. And though I do not want to see Finn's character polluted into a sexual degenerate nor Star Wars into an X-rated freakshow, it would be nice to see him get some meaningful nuances to his character in the form of a smooth-talking playboy who grows some courage rather than a mangina afraid of the whole universe. Also, giving Finn some of those Han Solo bad boy qualities would be a splendid way to atone for killing off that iconic character in this Episode VII stupidity. Finn obtaining a ship of his own and pursuing a critical subplot of Episode VIII with his new alien space babe in tow would be a great redemption for the "cowardly lion" we observed in TFA! And to avoid the feminist bullhockey, his new girlfriend doesn't need to be the one rescuing him from every hidden danger around the corner; they should share responsibility for each other. Finn doing his independent thing, more than some casual horizontal hulu or one-off smooch with Rey, would show audiences that the black man is definitely capable of being more than the sidekick or mere shadow of the white lead. He can explore the galaxy by himself, get into (and out of) hot spots by himself, and build great relations with the universe's many peoples on his own terms. This is what you want to see of black inclusion in science fiction, is it not? This is what black sci-fi geeks, male and female, have been longing for for ages, isn't it, a black person who can meet the challenge of space exploration without having to be guided by a patronizing white hand? And that of course is not limited to mere romantic indulgence - though that has been our example here - but to all endeavors of sophistication and significance.

As not only a black man in sci-fi, but more as a rogue stormtrooper searching for a righteous cause, Finn has awesome potential. If it is developed properly, this character can be one of the most endearing and beloved - and if not beloved, then at the least, controversial - in Star Wars history. He can take a place right beside, if not superior to both Lando Calrissian and Mace Windu. Spin-off stories and even films could one day be created about him. But he must be developed appropriately, now, starting with Episode VIII correcting the idiocy he was wrapped in with TFA. Finn can be redeemed, big time, but it's up to us as fans to DEMAND the writers give this guy a fair and proper shake at being a true hero just like Luke Skywalker, Calrissian, Windu, or Han Solo, and not another marginalized magic negro.

In my next and last meditation on Star Wars: The Force Awakens, some conclusions.




Until next time...


To the upward reach of man.

"The Talagxaon Particle, Part 1: Shroud of Shadows": The Reissued Work

It makes my day to let you know that I've re-titled and reissued the Epoc Enuma storyline as The Talagxaon Particle.

I do this for a few reasons:

1) The Talagxaon Particle is easier to pronounce and understand than Epoc Enuma (I bet you had trouble just saying that, huh?) and

2) The new title better expresses the heart and true meaning of the story.

What we deal with in this story is the same theme and element as in the Enuma continuum: the use, and abuse, of great power.


Join me in this exploration, and don't forget to hop over to my new Talagxaon Particle blog!

Star Wars: The Force Awakens: Part 1, An Anticipated Story for a New Generation

Star Wars: The Force Awakens officially opened in the United States December 18, 2015. The anticipation was HIGH for this movie; in fact it was probably the most anticipated movie of the year. And if measured by both weekend turnout and profits from 12/17-20, the movie was runaway successful. Indeed online ticket sales prior to the opening topped $100 million dollars. And current information suggests the movie is well on its way to topping $300 million before Christmas domestically in the United States, and more than $500 million internationally. It was the movie event of 2015, with nearly three generations of viewers waiting on the edge for their chance to be part of a big production.

But was the anticipation worth the wait? Did the product deliver on the hype?

This series of meditations will take a critical look at Star Wars, Episode VII and answer those questions from the Subspace Meditator's point of view.

****WARNING****

From here on out I will be weaving some MAJOR SPOILERS into my critique of this movie. If you haven't yet seen The Force Awakens and don't want to be spoiled, stop reading now. If you don't mind that sort of thing, press forward. But you have been warned!

As stated, I will be weaving plot pointers into my critical review of the story, so do not expect to see a straight-up, linear exposition of what happened from A to B to C. Do not either look to see every detail of the story tied into this analysis. Instead look for what jumped out at me in the big picture with specific events keyed in.

***LAST CHANCE***

SPOILER ZONE AHEAD

NO QUIT? ALRIGHT, HERE WE GO.

The Plot: A New Hope Redux

I'll  candidly admit that I walked out of The Force Awakens both satisfied and unsatisfied, that I was somewhat taken away by the fan comradery and my own desire that this be a fun story I could get along with. And so because of that I came out of the theater giving TFA a reasonably positive rating of 3 stars. Sadly, the more I've reflected on it, that rating must be revised downward south of 3.0 to 2.0-2.5, and that's being magnanimous.

 

R2-D2 & BB-8

The Force Awakens made generous use - if that's the right word - of plot elements from A New Hope and to a lesser degree other aspects of Episodes V-VI. One of the most obvious of these was ANH's use of the droid R2-D2 being sent on a mission by Princess Leia to find the aging Jedi master Obi-Wan Kenobi in order to enlist his aid in delivering the Empire's plans for the very first Death Star to the Rebel Alliance of the era. 

This plot device is practically mirrored by TFA when now-General Leia sends the beach ball-like BB-8 on a mission to find missing Jedi, Luke Skywalker, who has now also ascended to the rank of Master and exiled himself to a remote planet where the very first Jedi temple was built thousands of years ago. Apparently, Skywalker is the key to defeating the First Order, the replacement galactic tyranny risen from the ashes of the old Empire and hellbent on dominating the stars in its shadow. How or why the new First Order has arisen is barely touched upon and is one of a plethora of severe plot holes in the story. 

Starkiller Base, a frozen PLANET-SIZE Death Star THREE!

However, this is not the only plot device borrowed by TFA. Just as in A New Hope - and Return of the Jedi - we are given a new, bigger, planet-sized Death Star called Starkiller Base capable of wiping out not just one planet at a time, but multiple ones simultaneously, and from what appears to be dozens, if not more, lightyears away, all by using the energy of a living star which it syphons off using its big red "eye."

Starkiller Base from the ground, atmosphere and all

Yet, somehow, this WHOPPING superweapon is possessed of virtually the same fatal design flaws and weaknesses of the very first Death Star from ANH and is destroyed in virtually the same fashion! And when it comes time to defend this overpowered big boy from enemy attack there appears to be no starfleet in orbit with any capital ships of merit, nor an adequate fighter defense battalion with the shear numbers to make the difference against the meager Resistance space forces. Consequently, just as in ANH, the Resistance attack squadron is able to fly into what is the heart of this base and, with a handful of X-Wing fighters, cripple it to total abandonment. It is like the First Order learned nothing from its predecessor tyranny about creating or defending what is a key piece of space real estate. Quite frankly this was sloppy, unimaginative, lazy writing of which I blame director and co-script producer J.J. Abrams for, a man who is known for creating mindless, dumbed down action without any real purpose or basis behind it. He did it in Star Trek 2009 and Into Darkness and he's done it again here.

On with the show!

This is not all. On a near point-per-point basis, the plot of The Force Awakens is an almost carbon copy of Episode IV, A New Hope:

* A super spaceship looms menacingly over a planet;
* A robot is sent on a secret mission to find a long-missing Jedi master;
* The robot encounters a lone adventure-seeking youth on a remote desert planet;
* The adventurist youth loses their family on the desert world;
* The adventurist youth runs into a rogue pilot and is whisked away on an epic journey that will alter their destiny forever;
* AND ON AND ON!!

I will not catalog every instance of this asinine ripoff because to do so will tax my patience and yours. But this is what fans have so far doled out millions of dollars for - A New Hope (Again) - hardly worth our time, excitement, and most certainly not our monetary sacrifice. 

Given J.J. Abrams' idiotic Star Trek II: The Wrath of Khan/Into Darkness plagiarism, this mindlessness begs a very serious question: Will Star Wars, Episode VIII be a regurgitation of The Empire Strikes Back too, just with different settings and characters and minor plot adjustments?

But let's get on with what I really want to talk about, the true subject of this post.

The Characters

Specifically I wish to discuss the male characters in this part, leaving the female ones for part two as I have a definitive reason for separating the groups. Let's start with Han Solo.

Han Solo & Chewbacca

Han Solo & Chewbacca repossess the Millennium Falcon

Not much needs be said about either of these two iconic characters' backgrounds prior to TFA; they have both been firmly established by Episodes IV-VI, and by various treatments in the Expanded Universe, etc; everyone knows them by now, very well. What we should be looking at here is how the two characters have changed in the intervening three decades since Return of the Jedi and where that leads The Force Awakens. And the answer, I'm afraid, is not very much. If what we saw on the screen is to be believed, somehow neither the galaxy's most famous bad boy nor his ever loyal sidekick have changed nor advanced much since they helped destroy the Death Star in RotJ, overthrowing the Empire and its ruthlessly tyrannical Emperor Palpatine. Having gone from being a general in the Rebel Alliance, after the dust settles, somewhere between evolving from a smuggler to a war hero, Han Solo returns to us, not as a more mature and seasoned man with thirty plus years experience behind him, but as the same smuggling, conniving, swindler he was before he joined the Rebel Alliance as a liberator of the galaxy, and Chewbacca goes with him! I don't know about the rest of you, but this doesn't sit right with me. How does this happen? Why? No logical exposition for this move is made for what happened between Return of the Jedi and TFA so no emotional attachment nor understanding, beyond nostalgia for the characters, can be invested. There is nothing demonstrable in either of these characters' portrayals and thus nothing bold or risky in them either.

Moving on though. Somewhere between RotJ and TFA, Solo loses the Millennium Falcon only to miraculously find it adrift in space thirty years later after a wayward distress beacon is activated by the fumbling efforts of our new heroes, Finn and Rey. This is one of the most unbelievable, Deus Ex Machina moments of the storyline, inserted to ease Solo and Chewie into the picture! We are supposed to believe that in the vastness of interstellar space, one lone homing beacon goes off long enough and far enough that Solo - who is conveniently close enough - receives and recognized it, and comes running across who knows how many lightyears to reclaim his old ship from whoever or whatever has stolen it from him. Never mind the fact that it's never told how he lost it in the first place. Though, yes, it is nice to see Solo and the "big walking carpet" again, this is all a very lazy and unsophisticated plot resolution.

Further, the reunion between Solo and Princess (now General) Leia Organa is rushed, forced, and awkward. In the one and only brief personal scene between them, we are treated to a minor, but cryptic, exposition as to what separated them and how they've gotten along without one another for thirty years. However, this emotional investment is small, and rather than giving these two super iconic people the screentime they deserve together, we are whisked away with Solo again on a mission to destroy Starkiller Base with Rey and Finn. What is of major significance in the reveal of Solo and Leia, however, is that somewhere between RotJ and TFA, they got married and had at least one kid, Ben Solo - who turns out to be the grandson of Anakin Skywalker (recall that Leia is Luke Skywalker's sister), the nephew and once-Jedi apprentice of Master Luke Skywalker, and the primary antagonist of TFA. And this leads us to our next, and to me, most compelling character of the movie.

Kylo Ren

Kylo Ren, the weakest Sith in history

Easily the most potentially interesting character of The Force Awakens, Ben Solo, aka Kylo Ren, is the powerful Force sensitive bad guy who terrorizes the galactic neighborhood in the name of the Dark Side. Spurred on by his concealed dark master, Supreme Leader Snoke, Ren is the face of the power behind the power, very much as Darth Vader was apprentice and proxy to Palpatine, aka Darth Sidious. In fact it is Darth Vader whom Kylo Ren fancies himself in the shadow of and whom he wishes to emulate. But Kylo is a conflicted being, of himself inexplicably drawn to the Light Side of the Force - and fighting it - but simultaneously trying so very hard to live up to the shadow of a long dead grandfather whom himself renounced the Dark Side at the end of his life. So why is Ren so bent on being a Dark Sider? Is it due to the unyielding influence of Snoke whom himself is also a Dark Side Force master? Or are there different motivations having nothing to do with Snoke?

As compelling as this character first comes across, Kylo Ren, instead of being an intimidating and calculating Dark Sider, soon de-evolves, acting more like a whiny, skulking teenager whose hormones severely unbalance his mental and emotional state. Any strength Ren has in the Force, any skill he wields with a lightsaber, any long-range plans he is to carry out on behalf of his hidden dark master are all eventually drowned out in a wishy-washy emo guy whose trying desperately to get in touch with his feelings. He throws fits when things don't go his way to the point of destroying whole control consoles with his lightsaber in rage-induced cut and slash fests. He miscalculates critical openings in his opponents' weaknesses, leaving himself and the First Order open to obvious gaps in their counterattacks. He is not a mature strategist, Force user, or warrior by any measure. It is clear to see that Kylo Ren, though physically an adult, is a still an adolescent boy whose growth has been stunted by unresolved daddy issues between himself and Han Solo. I think it safe to say that he represents the weakest Sith or Sith-affiliated Dark Sider in the history of the Sith. Indeed, it is my opinion that Darth Maul would have wiped the floor with him, and Darth Sidious would be too humiliated to even speak his name.

Moreover, the actor cast to play Ren, in my opinion, does not at all fit the part. Adam Driver's Ren, sans the helmet, looks more like a teenager pop star idol than a telekinetic sword-fencer bent on intergalactic domination. Mask removed, mechanized voice nixed, and Darth Vader wanna-be killer Kylo instead comes across like someone's little brother throwing a temper tantrum. The power, prestige, and mystique would have been maintained if he'd never taken off the headpiece period. Instead, unlike Darth Vader, who isn't shown for the broken old man he became until Return of the Jedi, we get a premature reveal of Kylo Ren that is bereft of any significant background information that would permit us to give a damn why he's in so much emotional distress and confusion about which path to choose.

And yet with all this weaknut writing, Kylo Ren was probably the most potentially compelling new character of the movie!

Poe Dameron

Resistance X-Wing pilot, Poe Dameron

Poe is probably the most believable character in the story but his screentime is so small that he's underdeveloped and really doesn't matter to the plot much at all. He runs into and out of the movie, possessing, if memory serves, exactly four or five scenes in the entire film. Clearly he's meant to be a hotshot, rogue pilot perhaps in the vein of Wedge Antilles in Episode IV - which itself points again to the derivative nature of this movie - but any emotional attachment we are to have with the character and his ace skills are nixed by the fact that we hardly get to know him. Yes, he smuggles the missing map of Luke Skywalker's location to BB-8. Yes, he leads the attack on Starkiller Base. But so what? We know next to nothing about what motivates him! What is his background? How did he get involved in the Resistance?  These are questions, once answered, that will endear viewers to characters.

I've decided to only briefly review the presence of General Hux, yet another derivative character similar in function and position to Episode IV villain Grand Moff Wilhuff Tarkin, yet inferior in action and performance. The character of Hux left much to be desired as an "Adolf Hitler" photocopy. His speech was shrieking, lacking in both power of delivery and sophistication of content; his mannerisms seemed forced; and his presence as a rival and counterpoint to Kylo Ren ineffective. Hux appeared to be more of a ticked off, privileged frat boy rather than the cool but charismatic and megalomaniacal Tarkin. He was unimpressive in the slightest. And that's all I wish to say of him for now.

Our next discussion on The Force Awakens will center around Finn. And I've chosen to separate this character because my thoughts and insights on him are so long as to warrant a separate section.

Until next time...



To the upward reach of man.

Star Wars: The Force Awakens: Part 2, The Social Justice Crusade

I had originally planned to make this part two in my series on Star Wars: The Force Awakens. However I’ve decided to not wait until putting the finishing touches on the first part because I believe what’s revealed in the following meditation is central to the message of the new Star Wars. We were brought to theaters with the idea that we were to be engrossed by an entertaining sci-fi story that captured a generation’s imagination and which was set to do so for another. While that was true, there was another agenda. And it is that agenda I wish to reveal now. My original introduction to part two is below. Also, the original posting of this meditation is at my new Talagxaon blog.

**************************

I'm now going to talk to you about why I think this movie had an agenda, and a particular one at that, one that became glaringly obvious as I continued to watch, and which was confirmed in my later researches and readings on the subject. But, first, to set the stage, let's talk about the women who showed up in The Force Awakens, because it is indeed women who are the central focus of my insights into the crusade of this movie.

The Women of The Force Awakens

Princess Leia Organa-Solo

General Leia Organa-Solo

She is the one female holdover from the 1970s-80s trilogy, the feisty Princess Leia, Rebel Alliance leader and battle-hardened but emotionally tender soldier, the lost daughter of Anakin Skywalker and sister of Luke Skywalker, Force sensitive, the love interest of Han Solo. It is Princess, now General Leia who is the most credible female presence in The Force Awakens. In the course of things we learn several important developments about General Organa: she's now a key figure in the new galactic Resistance movement to the remnant Empire-First Order tyranny; she was once married to and is now (presumably) divorced or separated from Han Solo; and together they've had at least one child, Ben Solo, who is also the main antagonist of Episode VII, the ominous Kylo Ren, who desires to be the inadequate successor to his late Dark Side-fallen grandfather, Anakin Skywalker, aka Darth Vader.

But though seeing her again is cool, and though there is a very memorable and emotionally touching reunion between herself and Han Solo, Princess Leia is hardly used to full capacity in the storyline, almost appearing as another backdrop on which to overlay the new feminine mystique of the program, Rey. Though this is disappointing it is understandable from a storytelling point of view. However, many questions remain unanswered about Leia's development in the last thirty years of the timeline, questions I hope are answered as this final trilogy unfolds.

But how does my acceptance of Leia diverge from the others?
 

Captain Phasma

Captain Phasma, First Order military leader

Though we do not know it from the beginning, Captain Phasma is female. And we are only given to realize this when she reprimands renegade Stormtrooper Finn when he's finally starting to question his allegiance to the First Order at the outset of the story. Even Phasma's armor is androgynous in order to prevent the possibility of one discerning she's anything but a competent trooper, presumably male; and she never removes her helmet at any point either. So we only have her voice, which is unmistakably feminine. So be it. However, the criticism of this character is not that she's another girl, but the psychology involved in getting us to accept her on-screen presence, which is based primarily on clever but subtle concealment. From the armor that hides her female body parts to the helmet that cloaks her feminine facial features - and which, once removed, would demonstrate that the gig is up - we are given a character which the scriptwriters seemed afraid might be rejected were it to be shown too soon not to be male. 

OOPs, it's a GIRL! OH, MY GOD!  It's got boobs, it can't be a soldier!

Give me a break. 

Sure, undoubtedly, some audience members - male and female - would have a problem with this. But time and again we've observed the opposite to be true, whether it is in the dedication of fans to characters like Jedi Master and Council member Shaak Ti, Alice of Resident Evil notoriety, or the katana-swinging Michonne of The Walking Dead (my personal favorite character next to Rick Grimes himself!). So what was up with consistently keeping the identity and utility of Captain Phasma secret, as if she would be kicked to the curb and resented if it were revealed she was a woman? The only resentment (and I dare say, rejection) of this persona from most viewers would be that it's another useless creation of a female personality for the sake of creating a female personality, as opposed to one who is compelling and thought-provoking. And that itself has a reason which I will declare at the conclusion of the rest of our Women of TFA profiles.

Maz Kanata

Maz Kanata, the female answer to Jedi grandmaster Yoda

"I am not a Jedi," the short, orange Kanata states to Rey in a critical moment of TFA. But clearly she is a mystic of some report who is not only specially attuned to the Force, but is also mysteriously in possession of Anakin Skywalker's lightsaber, the same one given to Luke Skywalker by Obi-Wan Kenobi, and lost during Luke's duel with Darth Vader in Cloud City. It is Kanata who senses the lightsaber's call to Rey in the underground passages of her Mos Eisley-style bar and who informs Rey of her own affinity in the Force. Clearly, though she is not a Jedi, Maz Kanata is meant to be the wizened elder who reveals to Rey, however temporarily, a greater sense of her destiny to come, she who initially sets Rey's feet upon the esoteric path. She is the female equivalent to Jedi grandmaster Yoda (who similarly reveals to Luke Skywalker his own unfolding Jedi destiny) though Kanata herself has never trained to be a Jedi nor lightsaber combatant. To be clear, nothing in Star Wars lore mandates a Force user to be a Jedi. It is simply that these particular Force sensitives have always been front and center of its application in the Star Wars universe.

But is Maz Kanata's presence simply another bow to the fangirls of the series, another way to tell the female audience members, "Look, Star Wars is for you too"? With the plethora of women who repeatedly appear in TFA it can be argued just so, especially as two more, female spies - one for the First Order and the other for the Resistance - show up in Kanata's bar just as our heroes do.

On the right, one of two female spies featured in Kanata's pub

But, "What are you saying? Chicks can't be spies?" Sure they can! And history proves they can be very effective ones when trained properly. The observation here centers around the shear number of women we continue to see in the storyline and asks the reader to ponder why. 

Rey

Rey, the girl who can do anything...and better than any man

This is the desert scavenger who is the central focus of our story- though we are initially misled to believe otherwise. In fact, much of the run-up advertising and even the start of the movie itself misdirects the viewer to think that it is the character Finn who is not only the key figure in this new Episode VII, but also the one in whom, eventually, the Force will awaken. This turns out to be false advertising, and may in fact have been part of the kinds of misdirections which J.J. Abrams is famous for.

However, what we are treated to with the character of Rey is a young woman who is at odds with the universe around her, isolated, and somewhat maladjusted. Fine. Very good. Character traits we can get along with and which are interesting for plot development. Unfortunately, these things, which stand to be the "meat and potatoes" of the character, are only given marginal screen-time, and hardly explored. Instead what we are offered is how smart and tough Rey is. OK! Still fine character traits, but unbalanced with the others in favor of showing us just how strong, modern, and independent she is. Rey becomes, not a character in whom viewers can invest emotional attachment, and whom they may possibly be able to identify with, whatever their sex, but a caricature for the modern feminist woman who ballyhoos at every opportunity, "I don't need no man!" 

Combine these things with the fact that Rey can do anything from fix broken hyperdrive coils to piloting speeders and antique spaceships, to doing in the Force in days what it took more powerful Force adepts than she years to learn, including Chosen One Anakin Skywalker - a veritable genius Rey is! - and you have the perfect recipe for every sci-fi chickadee's dream, a girlie girl who can run circles around the boys while gleefully singing, "Anything you can do I can do better. I can do anything better than you!" And all while keeping her clothes completely on at that!

Social Justice Warriors, rejoice! You now have the sci-fi feminist icon you've waited forty years for!

TFA as a Social Justice Experiment  

Enterprise bridge officer Lt. Uhura, Star Trek: TOS, 1960s era

This is not to say that there's some kind of problem with intelligent, capable females. Indeed in Star Wars as in Star Trek and other sci-fi incarnations, there have been plenty of such type women - from female Jedi and Sith warriors like Ahsoka Tano, Luminara Unduli, Depa Billaba, and Asajj Ventress to women Starfleet officers like Kathryn Janeway, Jadzia Dax, and Kira Nerys; but knowledge of at least some of these awesome SF girls requires a slightly deeper effort to know than mere passive ingestion of television and films. They also require that we refuse SJW efforts to cast these ladies down a convenient memory hole in order to make a point when SJWs don't have one. Given such examples (and there are plenty more) is it then credible that feminist SJWs harp and cry that there are no authentic female sci-fi heroines they can relate to?

Or is it more credible to think that what many feminist SJWs, and their progressivist male allies, are really hollering for in science fiction is the presence of more white female leads and the unqualified worship/acceptance of such leads by men?

That stated, the notion that this observation is about denying chicks their "grrl power" in science fiction is absurd and should not be asserted by anyone objectively reading this criticism. However, we must ask why in TFA was there a consistent, ever-recurring theme to bombard and bamboozle the audience with image upon image of women in positions of authority and/or power, and, in the case of the character Rey, why this very underdeveloped personality was shown in scene after scene either outclassing or upstaging her male counterparts, including in areas where their own expertise was imminently greater than hers. Examples of this include her telling Han Solo how to fix a critical malfunction aboard the Millennium Falcon, a ship he was intimately familiar with before the gifted Ms. Rey was even born, and which she'd only just stepped foot on hours prior to his arrival; her rescuing Finn from the First Order assault on Jakku, and subsequently from the monsters aboard the Falcon; and saving Finn from death at the hands of Kylo Ren on Starkiller Base by besting the wanna-be Darth Vader 2 in a lightsaber fight.

And that example itself raises criticism. Any observing, thinking viewer has to wonder how in bloody hell does an untrained duelist, barely Force-conscious individual like Rey go from having no conceptualization of her own power in the Force to being able to suddenly, expertly "tap into" its living essence - essentially in a matter of days - so much so that she's able to Force Will a stormtrooper to release her from captivity on Starkiller Base and, later, to fight Kylo Ren - a trained and skilled Force wielder and lightsaber duelist - to a standstill though she had not prior experience nor training with either.

Clearly, and without objection, Rey is a talented being, one whose natural ability (particularly with the Force) can be likened to an individual with an "ear" for music, but who has yet to learn how to read music or control his/her own voice. She has raw, undeveloped talent which explodes onto the scene without explanation or cultivation. But she has no skill. And at some point her loosely-awakened, innate talent begins to stretch the boundaries of credulity.

But Why Repeat These Elements Ad Nauseum?

Star Wars was always a boys’ thing, and a movie that dads could take their sons to. 

And although that is still very much the case, I was really hoping this could be a movie 

that mothers could take their daughters to as well.

-- JJ Abrams

The answer, I claim, to not only the "girls are awesome" trope that runs through TFA, but also to Rey's overcompensatory coolness, can be found in the statements of both Lucasfilm CEO Kathleen Kennedy and Episode VII director J.J. Abrams, each of which has candidly asserted their desire to use The Force Awakens as a vehicle to promote the empowerment of girls and women in science fiction and the real world at large. And there is nothing wrong with this idea in principle; if women wish equal rights and privileges in society, that of course will entail full-fledged access to equal opportunity, with the accompanying equal responsibility and accountability to boot.

Linda Hamilton as Sarah Conner from The Terminator series

However, time and again social justice warriors, particularly of the white female feminist variety, attempt to convince us that images of strong, competent women in the media of science fiction (such as the 1960s Star Trek Lt. Uhura shown above) simply either do not exist or are so few and far between as to be inconsequential and unimportant, especially to the inspiration and imagination of girls and women. And thus, in order to compensate for this alleged inadequacy, we must be utterly overwhelmed in modern-day entertainment with this imagination-becomes-reality scenario: fiery but dignified women who can fight stronger and better trained men to the ground (or at the least, to a draw); sharp, intelligent chicks whose technological wizardry runs circles around their male counterparts; or, on the other side of things, cynical and potty-mouthed women whose sardony and sexual liberation puts even a drunken sailor's lifestyle to shame.

Sigourney Weaver as Ripley in Alien

But this perceived lack of "strong women in sci-fi" is not true, and further has not been for decades. I will not catalog every incarnation of tough, diligent female leaders in science fiction and fantasy over the last forty-fifty years, whether in film or print media, because to do so would require several pages. Suffice it to say the information is out there, and just doing a cursory search on the Internet will prove this case. So, again, the notion that there is some perceived lack of female role models for young girls and women to aspire to emulate in SF is just that - a perception - and an incorrect one at that, and one which continues to be demonstrably more untrue as the examples multiply in the fiction stories of the current era.

So, Ms. Kennedy, Mr. Abrams, was it so absolutely necessary to hound us with something that most intelligent SF adherents already know and which most of us have no objection to seeing? I argue not, and further that it would have been better for you to concentrate primarily on giving us a superior story that smoothly incorporated compelling female identities rather than a movie through which you wished to cram down our throats your Star Wars SJW experiment.

The Feminist Force Awakens

I don’t have many choices. But that’s going to change. Going forward with all 

we’re talking about there are going to be a lot of wonderful new [female] characters.

-- Kathleen Kennedy at Star Wars Celebration, 2015

The venomous Diana from the 1980s sci-fi hit, V

At the risk of redundancy, my objection to the profusion of women in The Force Awakens is not because they are women, but the function of these women as a tool of propaganda and brainwashing. It now appears that Star Wars will become a tool of political correctness and 21^st century women’s suffrage rather than the grand operatic space adventure it was always meant to be. Women will not be incorporated into these stories because they are fascinating people with remarkable backgrounds to be explored. They will not add to the great themes of science fiction which examines the human condition and makes insightful commentary on that condition through the guise of futuristic, far-away space adventure. Their skills as fighters, leaders, or savvy scientists will not be earned nor developed but handed to them simply because… well because they’re women. It is an absurd proposition that we are asked to accept this stupidity, and even more absurd that an iconic series like Star Wars has been corrupted, sacrificed on the altar of political correctness, female insecurities, and feminist lunacy.

Kathleen Kennedy and J.J. Abrams saturated TFA with women because their agenda to see women front and center of the sci-fi phenomenon was greater than their desire to tell a genuine, original story that paid homage to this giant of speculative fiction entertainment. Their aim to feminize Star Wars on behalf of a social justice crusade should not be accepted by those who’ve come to love it and its message of liberty, justice, and epic excitement.

Cmdr. Susan Ivanova, 1990s sci-fi adventure, Babylon 5

Further, there was utterly no need for this kind of brainwashing for, as stated earlier, the examples of the types of sci-fi women Kennedy and Abrams would have us believe do not exist have in fact existed for years and decades, and in plenty quantity. They have been heroines, villains, geniuses, morons, saints, whores, and everything in between. In other words they’ve been human characters with the requisite flaws, nuances, and ambitions necessary to create personalities of depth whom audiences could love and hate. Therefore the idea, as Kathleen Kennedy seems to erroneously believe, that there are few women in science fiction she and other female humans can identify with is ridiculous and unfounded on its face. It is a foolish perception that should no longer be accepted by those with knowledge of science fiction history and enough memory to count, or for those with just some basic research skills.

In my next post on The Force Awakens I will delve into the other principal characters and what I thought of them and their relationships to the overall arch.

Until next time...



To the upward reach of man.